1 Report Prepared by the National Film and Video Foundation of South Africa
SOUTH AFRICA COUNTRY REPORT
BEIJING DECLARATION
WOMEN IN MEDIA
FILM INDUSTRY
FEBRUARY 2015
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Picture courtesy of 76 Media
Table of Contents
1. BACKGROUND ............................................................................................................................ 3
2. POLICY INTERVENTIONS ....................................................... Error! Bookmark not defined.
2.1 Overview of Policy/Legislative Interventions ........ Error! Bookmark not defined.
2.2 Status of the Industry .................................................................................................... 3
2.3 Interventions and Initiatives ........................................................................................... 5
2.3.1 FILM INDUSTRY FACTS ............................................................................................... 7
2.3.2 ACHIEVEMENTS ............................................................................................................. 7
2.3.4 INDUSTRY INTERVENTIONS..................................................................................... 9
2.3.5 GAPS AND CHALLENGES ............................................................................................. 9
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1. BACKGROUND
Since the advent of democracy and the adoption of United Nations Declaration of
Human Rights and other conventions, South Africa has a made a lot of strides in the
development of women through a number of policy interventions, legislation and
programmes.
The advancement of women is particularly important in South Africa where the female
population is estimated to be just over 50% according to Statistics South Africa (Stats
SA; 2014). Therefore, the economic empowerment of women as well as their inclusion
in management positions in both government and private sector is of importance for
the economic growth. This requires an approach that demystifies patriarchy as well as
promoting equality amongst genders in all spheres of society. This report focuses on
the film industry, a subsector of the media and entertain within the context of Women
in Media, as part of the Beijing Declaration of 1995.
1.1 State of the Film Industry
Since its evolution more than 100 years ago, the South African film industry has been
male dominated, partly because the restrictive apartheid policies and discriminatory
laws restricted the participation of women in the economic activities. The fact that the
industry is also labour intensive and is subject to long and abnormal hours of work did
not make it any easier for women to participate meaningfully.
The underrepresentation of women in other sectors of the economy was not unique
to the film industry. The end of apartheid in 1994 ushered in transformation
legislations and policies that were geared at levelling the playing field and giving
women opportunities to participate in the economy.
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Prior to 1994 there was a mere 2.7 of women representation in parliament and today
we have a resounding 42% which puts SA in the fourth position worldwide in terms
of the greatest number of women in parliament. The Labour Force Survey reveals the
following:
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A 6.9% growth of women in managerial position between April-June-2013 to
April-June 2014;
A 4.9% growth of women in professional position between April-June-2013
to April-June 2014;
A -5.1% change of women in technical position between April-June-2013 to
April-June 2014.
Between 2000 and 2007, of the 55 films that were produced locally the following was
observed:
Only 6 of the 55 films were produced by women;
9 films of the 55 were based on stories written by females; and
6 of the films had female directors.
Picture courtesy of 76 Media
Industry organisations such as the Independent Producers Organisation acknowledge
the male dominance in both participation and owners as an area that requires the
industry to transform (NFVF Film Indaba, 2009). Unfortunately, this has set the tone
for the male dominance as an industry trend that still continues to dominate the South
African industry reality. However, post-apartheid cinema has also seen the emergence
of new voices that also includes women directors and writers who are making names
for themselves locally and internationally.
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The film industry remains largely commission driven, a trend that was abruptly
interrupted in 2009 when the public broadcaster, reduced its spending for the
procurement of independently sourced content. This development forced the industry
to re-examine funding models with a view to diversify their company business model.
Out of this experience, producers are actively seeking alternative models of funding
which includes crowd funding a new trend to finance the production of films. Producers
are also seeking international soft funding from Europe in an effort to source as much
soft funding as possible – this gives the producer a chance to participate in the profit
sharing as soft funders tend to have less aggressive recoupment stance unlike gap,
debt or equity investors.
Box office trends in South Africa also highlighting the need for indigenous languages
as observed between 2009 -2011. For example films such as Izulu Lami, Elelwani have
been well received by local and international audiences (NFVF Box Office Report
2011).
In the 2009 Report on the Investigation to Establish the Viability of Establishing a
National Film school, the NFVF found that film industry training was not coordinated
and resulted in training curriculum in public and private institutions of higher education
was out of touch with the needs of the industry. The NFVF and industry have since
come together in order to ensure that training is aligned to the needs of the industry.
To this end, the Department of Arts and Culture is spearheading a project that will
establish a national skills academy for the creative industries including films. This
initiative, coupled with regular stakeholder collaborations which will include internship
and mentorship programmes for film graduates will enrich film education and training.
1.2 Policy Interventions and Initiatives
The table below is a summary of broad national policies and legislation that impact on
gender empowerment in the film industry that were introduced post 1995.
It is important to highlight that the Constitution of South Africa, regarded as one of
the most liberal in the world is the highest law of South Africa. The constitution’s Bill
of Rights in Chapter 2 for the purpose of this report includes provisions for gender
equality as well as prohibiting hate speech which takes many forms including gender
based violence. The Commission for Gender Equality is an example of an independent
constitutional entity that has been set up to promote, monitor gender practices and
policies of government, other organisations and private sector. The Commission also
conduct research, raise public awareness, investigates complaints as well as ensure
compliance with international conventions.
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Policy/Legislation Purpose Summary of objectives White Paper on Arts Culture and Heritage, 1997
Policy framework for the arts, culture and heritage sectors in South Africa
Sector funding; Role of sector in South Africa Proposal for the establishment of institutions.
National Film and Video Foundation Act , 1997
Established a government agency for the promotion and development for the film industry
Mainly transformative; Creation of opportunities to enter the film industry for previously disadvantaged individuals which includes women.
Film and Publication Act, 1996
Regulation of the creation, production, possession and distribution of films, games and certain publications
Degrading material and hate speech which includes gender based may constitute unclassifiable material.
Electronic Communications Act , 2005
Introduces a Code of Conduct for Broadcasters
Part of the Code of Conduct regulates the broadcast of violence and hate speech which is not part of the plot, character which judged within a context not part of a broadcast programme.
Film and Television Production and Coproduction Incentive, 2004
Introduced a cash rebate for local production for cash spent in the production of films
Growth of local production companies and sustainability of the sector through job creation.
Foreign Film and TV Production and Post-Production Incentive, 2004
Introduces a cash rebate for foreign films that are shot in location and post produced in South Africa
To attract foreign direct investment from Hollywood studios and other countries. Job creation and skills development opportunities for local production companies.
Income Tax Act – section 12 (o) film allowance
Tax allowance for film owners
Encourages private sector investment in the production of local films.
Digital Migration Strategy Policy framework for the migration of broadcasting services from analogue to digital
Introduction of a multichannel environment for digital terrestrial television. Opportunities for content creation for content producers. Skills and training requirements for DTT.
Revised White Paper on Arts, Culture and Heritage, 2013
Policy for the role of the arts, culture and heritage sectors in South Africa
Recognises the economic and cultural value of the cultural industries. Sector funding.
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Training and skills development.
Black Economic Empowerment Act and Broad-based Black Economic Empowerment Acts
Introduces the economic empowerment of Black owned companies
Women are included in the previously disadvantaged groups. Inclusion on Women in Management Positions for companies.
African National Congress 53rd National Conference Resolutions, 2013
Sets out focus areas for the ruling party for South Africa
Resolutions on Women: Fight against patriarchy and forms of abuse against women. Access to economic opportunities for women. 50/50 representation for women in decision making structures of government and society.
2.3.1 FILM INDUSTRY INITIATIVES TO EMPOWER WOMEN
This section gives a summary of some programmes that have been implemented post
1995 to empower female filmmakers:
In 2004, the NFVF and the South African Broadcasting Corporation (SABC) in
celebration of democracy created a 10 documentary series named Project 10
wherein 10 documentary projects were commissioned for the SABC and out of
the 10 documentaries 9 of them were directed by women.
In 2012, the NFVF introduced slate funding and one of the companies awarded
a slate deal was a female owned production company.
A call for proposals for 10 short film projects for direction by women in 2014
has resulted in 10 short films written, directed and produced by first time female
participants. The initiative is aimed at female filmmakers who have just entered
the industry in order to build capacity and launch careers in the film industry.
The NFVF’s in-house Sidebar Screenwriting training programme is headed by
women mentors.
2.3.2 ACHIEVEMENTS
South African films have been doing well in the international stage. The films below
are examples of some well-known films made by women who have done well at the
local box office, the international film festival circuit and international film
competitions.
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Izulu Lami (My African Sky)
and Otello Burning were
written, produced and directed
by Sarah Blecher.
Sarah Blecher has won several
local and international awards
for her work in writing,
directing and producing TV
dramas and films.
White Wedding was co-
written by Jann Turner who
was won numerous local
and international awards as
a TV and film director.
The film also won a South
African Film and Television
Award for Best Actor and
was official entry for South
Africa for the Best Foreign
Language Film at the 82nd
Oscar Awards.
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2.3.4 INDUSTRY INTERVENTIONS
In 2005, Women in Film and Television South Africa (WIFTSA) was founded
and has grown steadily into an active organization focused on providing a
professional platform for women in the film and television industry to network
and learn.
Women of the Sun; now defunct was established to serve as an advocacy group
for women issues within the film industry but is.
In 2013, the NFVF and the Department of Women, Children and People with
Disabilities which is now part of the Department of Social Services partner to
collaborate for financing the production of films by women with disabilities. The
project is still in progress.
2.3.5 GAPS AND CHALLENGES
In this section of the report, gaps and challenges are discussed as well as interventions
that have been put in place or that are in progress to address these identified areas.
Distribution networks for the widest possible distribution of content especially
that which is owned by female owned content independent production
companies remains a challenge. Access to content for ordinary South Africans
due to disparities in cinema infrastructure remains a gap. There are a number
of initiatives both public and private that seek to ensure that audiences are
catered for.
Sustainable enterprises – intellectual property ownership in content produced
by filmmakers is still a challenge and requires legislative intervention for
White Lion was written by
Janet van Eeden; the film
won the Audience award
at the Lucas International
Festival of Films for
Children and Young
People.
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broadcaster commissioned content to allow filmmakers to also profit share. This
also require the exploration of diverse models for the financing of film
production.
Private sector support – there are efforts by the NFVF to attract private sector
funding for the production of content as well as infrastructure development to
enable distribution. Government has put in place financial incentives and tax
breaks that remain the backbone of production funding for the industry.
Nature of the industry-project based – in order to respond to the National
Development Plan objectives; especially that of job creation, the film industry
has developed a Macro Strategy for the industry to encourage industry
development by increasing the number of annual films produced in the country.
With a combination of a thriving servicing industry, intervention have put in
place such as slate funding models and a production incentives that seeks to
boost the number of production that will create regular work from industry
practitioners.
Picture courtesy of 76 Media
Piracy – although counterfeit laws are in place, the enforcement of legislation
and lack of awareness by the public continue to devalue the market potential
of many local film who are pirated before official releases. The Southern African
Federation against Copyright Theft (SAFACT) continues to raise public
awareness and fight against piracy. The collaboration between industry,
organisations and government (Department of Trade and Industry, the South
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African Revenue Service as well as the South African Police Service ) continues
to grow in order to curb piracy and to address enforce anti-piracy and
counterfeit goods legislation. A multi-prong strategy which also includes
distributors and network providers to come on board to ensure content is as
widely accessible as possible to South Africans of different backgrounds will
ensure that piracy is kept to the minimum.
Outdated Intellectual Property regime – the main challenge with the 1977
legislation is that it limits the ownership prospects for independent producers
for commissioned work. The legislation is currently being overhauled to adapt
to current realities for copyright and intellectual property ownership. This is a
vital legislative framework for a progressive information economy.
Digital Terrestrial Television Rollout is behind schedule – the opportunities for
content creators is lost. Government and the ICT industry is working together
to ensure that the policy as well as standards maximise interoperability and
access for citizens.
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